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MELANIE KING
My preoccupation with the infinite began as a child. I suffered anxiety attacks when exposed to scientific and mathematical paradoxes at a young age. Repetitive tasks and playful experiments appeal to both my anxious nature and my inner child, which in turn helps me to process complex thought through simple processes.
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MELANIE KING My preoccupation with the infinite began as a child. I suffered anxiety attacks when exposed to scientific and mathematical paradoxes at a young age. Repetitive tasks and playful experiments appeal to both my anxious nature and my inner child, which in turn helps me to process complex thought through simple processes.
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MELANIE KING
My preoccupation with the infinite began as a child. I suffered anxiety attacks when exposed to scientific and mathematical paradoxes at a young age. Repetitive tasks and playful experiments appeal to both my anxious nature and my inner child, which in turn helps me to process complex thought through simple processes.
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ROBYN LAWRENCE
I am a mixed media artist who works with the notion that the universal can be personal and the personal be universal, my work is driven by the fine line between chaos and organization.
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ROBYN LAWRENCE
I am a mixed media artist who works with the notion that the universal can be personal and the personal be universal, my work is driven by the fine line between chaos and organization.
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ROBYN LAWRENCE
I am a mixed media artist who works with the notion that the universal can be personal and the personal be universal, my work is driven by the fine line between chaos and organization.
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AMY McKEATING
I am interested in the concept of the uncanny and how it is experienced as feelings of unease within our surroundings revealing the strange in what appears mundane. My work is concerned with invasions and interaction with space, highlighting its deeply affecting power and relationship to the body.
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AMY McKEATING
I am interested in the concept of the uncanny and how it is experienced as feelings of unease within our surroundings revealing the strange in what appears mundane. My work is concerned with invasions and interaction with space, highlighting its deeply affecting power and relationship to the body.
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MIRANDA MOHIT
I use a feminine approach as a formula for creating something fragile, sensory, fleshy and tangible, expressing a complex intimate narrative and uncertainty. Materials and concepts juxtapose a psychological vision. Identity, childhood, journey and memory are themes often explored through my practice.
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MIRANDA MOHIT I use a feminine approach as a formula for creating something fragile, sensory, fleshy and tangible, expressing a complex intimate narrative and uncertainty. Materials and concepts juxtapose a psychological vision. Identity, childhood, journey and memory are themes often explored through my practice.
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MIRANDA MOHIT
I use a feminine approach as a formula for creating something fragile, sensory, fleshy and tangible, expressing a complex intimate narrative and uncertainty. Materials and concepts juxtapose a psychological vision. Identity, childhood, journey and memory are themes often explored through my practice.
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LOUIE MULHERN
I explore ideas of street art as a legitimate art form that can work in different surroundings. I have experimented with different materials making posters and now plastics. I try to convey similar feelings in a gallery as I do in my work on the streets.
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LOUIE MULHERN
I explore ideas of street art as a legitimate art form that can work in different surroundings. I have experimented with different materials making posters and now plastics. I try to convey similar feelings in a gallery as I do in my work on the streets.
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SAMUEL MORGAN
My work deals with the alienation that the contemporary art world creates towards the general public and what separates ‘high’ art from society and the community. By using a naïve painting style and clashing colours, I try to convey these ideas through the aesthetics of the painting.
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SAMUEL MORGAN
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My work deals with the alienation that the contemporary art world creates towards the general public and what separates ‘high’ art from society and the community. By using a naĂŻve painting style and clashing colours, I try to convey these ideas through the aesthetics of the painting.
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HOLLY MULVEEN
“An isolated datum of preception is inconceivable, at least if we do the mental experiment of attempting to perceive such a thing. But in the world there are either isolated objects or a physical void.� Maurice Merlau-Ponty, 1962, Phenomenology of perception.
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HOLLY MULVEEN
“An isolated datum of preception is inconceivable, at least if we do the mental experiment of attempting to perceive such a thing. But in the world there are either isolated objects or a physical void.� Maurice Merlau-Ponty, 1962, Phenomenology of perception.
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HOLLY MULVEEN
“An isolated datum of preception is inconceivable, at least if we do the mental experiment of attempting to perceive such a thing. But in the world there are either isolated objects or a physical void.� Maurice Merlau-Ponty, 1962, Phenomenology of perception.
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ALEX NIGHTINGALE The concept behind my work is memory and the re-creation of objects. I produce 3D forms working with various materials and using repetitive techniques. I aim to create sculptural representations of form and space.
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ALEX NIGHTINGALE
The concept behind my work is memory and the re-creation of objects. I produce 3D forms working with various materials and using repetitive techniques. I aim to create sculptural representations of form and space.
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ALEX NORCOP
The concept behind my work is memory and the re-creation of objects. I produce 3D forms working with various materials and using repetitive techniques. I aim to create sculptural representations of form and space.
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ALEX NORCOP
My artistic practice is heavily driven by political and social issues. It challenges the current capitalist system while offering an alternative to it. Utilising art as a revolutionary tool I hope to encourage new ideas; always done with honestly and compassion.
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ALEX NORCOP
My artistic practice is heavily driven by political and social issues. It challenges the current capitalist system while offering an alternative to it. Utilising art as a revolutionary tool I hope to encourage new ideas; always done with honestly and compassion.
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ALEX NORCOP
My artistic practice is heavily driven by political and social issues. It challenges the current capitalist system while offering an alternative to it. Utilising art as a revolutionary tool I hope to encourage new ideas; always done with honestly and compassion.
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MICHAEL ORMEROD
“There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions that seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.� T.S. Eliot
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MICHAEL ORMEROD
“There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions that seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.� T.S. Eliot
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MICHAEL ORMEROD
“There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions that seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.� T.S. Eliot
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SIMON PHILLIPS
I manipulate paint as a method of creating layered painterly sculptures. Using Abstract Expressionism, but employing more control. I use found objects and intuitive colour to develop the surfaces in the work.
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SIMON PHILLIPS
I manipulate paint as a method of creating layered painterly sculptures. Using Abstract Expressionism, but employing more control. I use found objects and intuitive colour to develop the surfaces in the work.
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SIMON PHILLIPS
I manipulate paint as a method of creating layered painterly sculptures. Using Abstract Expressionism, but employing more control. I use found objects and intuitive colour to develop the surfaces in the work.
Website